The Spitzer Amphora at Bryn Mawr College

Transcription

Bryn Mawr College
Scholarship, Research, and Creative Work at Bryn Mawr
College
Classical and Near Eastern Archaeology Faculty
Research and Scholarship
Classical and Near Eastern Archaeology
2014
A Type γ Courting Scene for Alan: The Spitzer
Amphora at Bryn Mawr College
Robert F. Sutton
Bryn Mawr College
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Custom Citation
R. Sutton, "A Type γ Courting Scene for Alan: The Spitzer Amphora at Bryn Mawr College," in Ed. A. Avramidou and D. Demetriou,
Approaching the Ancient Artifact: Representation, Narrative, and Function; A Festschrift in Honor of H. Alan Shapiro. Berlin: De Gruyter,
2014. 319-334.
This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/arch_pubs/161
For more information, please contact repository@brynmawr.edu.
Approaching the
Ancient Artifact
Representation, Narrative, and Function
A Festschrift in Honor of H. Alan Shapiro
Edited by
Amalia Avramidou and Denise Demetriou
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ISBN 978-3-11-030873-0
e-ISBN 978-3-11-030881-5
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A CIP catalog record for this book has been applied for at the Library of Congress.
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detailed bibliographic data are available on the Internet at http://dnb.dnb.de.
© 2014 Walter de Gruyter GmbH, Berlin/Boston
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Table of Contents
Acknowledgements  V
Contributors  XI
Abbreviations  XV
Amalia Avramidou and Denise Demetriou
Foreword  XVII
H. Alan Shapiro: Bibliography  XIX
Myth into Art
Sarah P. Morris
Helen Re-Claimed, Troy Re-Visited: Scenes of Troy in Archaic Greek Art  3
Beth Cohen
Polyxena’s Dropped Hydria: The Epic Cycle and the Iconography of Gravity in
Athenian Vase Painting  15
Tyler Jo Smith
Myth into Art: A Black-figure Column Krater from Castle Ashby at the University
of Virginia  31
J. Michael Padgett
The Serpent in the Garden: Herakles, Ladon, and the Hydra  43
Heide Mommsen
Reflections on Triton  53
Erika Simon
Herakles and Geras in Etruria  65
Ralf von den Hoff
Theseus and Aithra! A Forgotten Fragment and an Old Problem  69
Mario Iozzo
Theseus and Periphetes by the Sabouroff Painter?  77
Marcello Barbanera
Dressing to Hunt. Some Remarks on the Calyx Krater from the So-called House of
C. Julius Polybius in Pompeii  91
VIII
Table of Contents
Michalis Tiverios
Phrixos’ Self-sacrifice and his “Euphemia”  105
Stephan Steingräber
Philoktetes in Brauron (Attica) and Volterra (Etruria)  117
Susan Rotroff and Robert Lamberton
The Tombs of Amazons  127
Iconography of Mourning
Susan B. Matheson
The Wretchedness of Old Kings  141
Judith M. Barringer
Athenian State Monuments for the War Dead: Evidence from a Loutrophoros  153
Wendy E. Closterman
Women as Gift Givers and Gift Producers in Ancient Athenian Funerary Ritual  161
Matthew Roller
Volgei nescia: On the Paradox of Praising Women’s Invisibility  175
Dietrich Boschung
Reduced Myths: Roman Ash Chests with Mythological Scenes  185
John H. Oakley
Roman Sarcophagi in the Toledo Museum of Art  197
Art and Cult
Monika Trümper
Bathing in the Sanctuaries of Asklepios and Apollo Maleatas at Epidauros  211
Olga Palagia
The Three Graces at the Panathenaia  233
Lina Kokkinou
Hermes and the Athenian Acropolis: Hermes Enagonios (?) on a Red-figure Miniature
Amphora of Panathenaic Shape by the Bulas Group  243
Table of Contents
IX
Nassi Malagardis
Ἀναθήματα on the Athenian Acropolis and in the Sanctuary of the Nymph
(600–560 BCE): The Case of the Skyphoi  255
Guy Hedreen
The Artificial Sculptural Image of Dionysos in Athenian Vase Painting and the
Mythological Discourse of Early Greek Life  267
Allison Surtees
Satyrs as Women and Maenads as Men: Transvestites and Transgression in
Dionysian Worship  281
Courtship Scenes
Dyfri Williams
“To Dream the Impossible Dream”  297
Jenifer Neils
Hare and the Dog: Eros Tamed  311
Robert F. Sutton
A Type γ Courting Scene for Alan: The Spitzer Amphora at Bryn Mawr College  319
Adrienne Lezzi-Hafter
A Lazy Afternoon  335
Narrative Strategies
J. Robert Guy
A Matter of Style/Why Style Matters: A Birth of Athena Revisited  341
Jasper Gaunt
Story and Status: The François Vase and the Krater from Vix  349
Bettina Kreuzer
A Frame for Names: The Case of the Hydria Louvre F 287  363
Mark D. Stansbury-O’Donnell
Composition and Narrative on Skyphoi of the Penelope Painter  373
X
Table of Contents
Martin Langner
Where Should We Place the Krater? An Optimistic Reconstruction of the Vessel’s
Visibility during the Symposion  385
Helene A. Coccagna
Manipulating Mastoi: The Female Breast in the Sympotic Setting  399
Christoph Reusser and Martin Bürge
Laconian Wine  413
Deborah Lyons
Arion the Methymnian and Dionysos Methymnaios: Myth and Cult in Herodotus’
Histories  425
Clemente Marconi
The Mozia Charioteer: A Revision  435
Carlos A. Picón
An Ancient Plaster Cast in New York: A Ptolemaic Syncretistic Goddess  449
Claudia Zatta
The Non-Human Paradox: Being Political in Aristotle’s Zoology  455
Ch. Brian Rose
Are We Rome?  467
Bibliography  483
Index  539
Color Plates  569
Robert F. Sutton
A Type γ Courting Scene for Alan:
The Spitzer Amphora at Bryn Mawr College
I met Alan Shapiro in 1974 in Athens and quickly discovered a common interest in
iconography and vase painting. I am delighted to present here an amphora reflecting
our shared enthusiasm for the social interpretation of Attic vase paintings, one of the
finer pieces in the small collection of antiquities the late Doreen Spitzer assembled in
her youth and bequeathed to her alma mater Bryn Mawr College (color figs. 38, 39;
figs. 1, 2).1 One side depicts a procession of gods, the other presents pederastic sexual
congress among nude male dancers.
Description
The vase is complete except for chips and surface spalls that had been hidden by
restoration; it was accidentally broken and was recently dissembled and cleaned
pending full restoration. The shape is a small, well-proportioned standard black-figure
neck amphora,2 and the painter has made extensive use of added white and red to create
an attractive four-color pattern that enhances the form’s elegant play of positive and
negative space. The echinus mouth is black with reserve upper surface. An attenuated
lotus and palmette band decorates the neck, and a slight raised molding marks the
transition to the shoulder. The body is decorated in black figure, and a red ring marks
the transition to the black disk foot. Black handles in three rolls connect the neck to the
shoulder. Like other standard neck amphoras, the lower body is decorated with three
increasingly shorter bands that spread organically up from the solid base and run
completely around the body: long, slender rays below, tighter, more compact lotus-bud
chain above, and crowned by a low, simple running meander that supports thin
groundlines for the figures. The body above and the neck are divided into two sides by
the handles and long looping palmette tendrils with buds. These florals, conceived as
the landscape or architecture of the vase, are overlapped by the figures at either end
of side B. The figures extend over the full height of the upper body, their heads
1 Bryn Mawr College Art and Artifact Collections, 2011.17.2, gift of Doreen Canaday Spitzer, Class of
1936. Height: 32 cm; diameters: mouth 14.5 cm, base: 11 cm. http://Triarte.brynmawr.edu and http://
emuseum.net; rotating color image at http://triarte.brynmawr.edu/media/images/2011.17.2_BMC_
spin.mov (accessed 6/12/2013). Thanks to Marianne Weldon, Joelle Collins, and Camilla McKay at Bryn
Mawr; in Athens, to Christina Avronidaki at the National Archaeological Museum and Angelos
Zarkadas at the Canellopoulos Museum; to Lucilla Burn and Timothy McNiven; and to the editors.
2 Moore/Philippides 1986, 7–12, esp. 11–12.
320
Robert F. Sutton
Fig. 1: Cat. No. 25, detail, Side A. Artemis and Apollo. Poseidon on left.
As color fig. 38. Photo: author.
curving back onto the slightly sloping shoulder. A short band of alternating black and
white tongues crowns the shoulder on each side. The division into two sides is marked
emphatically at the neck by the intervening handles, while the lip spreading above
balances the base in reasserting the unity of the vessel. Both sides are decorated with
axial compositions in which the central subject appears between framing figures.
Side A (color fig. 38) illustrates a procession of gods whose otherworldly music
resonates on side B. In the center (fig. 1) Apollo stands or slowly advances right
playing the kithara, his usual instrument in black figure.3 He is partly covered by a
woman holding a sprig who is surely his sister Artemis.4 The siblings are framed by
3 Bundrick 2005, 18–21; cf. LIMC II (1984) 199–213 pls. 190–203, s.v. Apollon (W. Lambrinoudakis).
4 Cf. the overlapping pair on BAPD 301798, with Artemis identified by a deer.
A Type γ Courting Scene for Alan: The Spitzer Amphora at Bryn Mawr College
321
Fig. 2: Cat. No. 25, detail, Side B. As color fig. 39. Photo: author.
two bearded gods who move away, but turn their heads back toward the central
group. Hermes, with a slender caduceus, leads the procession, while Poseidon, with
a similarly attenuated trident, almost a staff with trident finial, seems to head off
in the other direction, or possibly dances, waving a salutation. Their clothing is
lavishly decorated with white dots and incised embroidery in addition to red and
black folds. Apollo and Artemis are formally arrayed in long chitons and himatia,
while Poseidon wears a shorter cloak over a tunic, of which only the upper border
at the neck is indicated. Hermes’ cloak is even shorter, covering both shoulders,
without a tunic, and he wears his usual winged shoes and Robin Hood cap. All
gods are longhaired, with Hermes’ looped up behind in a krobylos. Artemis is
crowned with a red headband, and Apollo with a black leafy laurel wreath emerging over his brow. The framing gods are bearded, while Apollo is a full-grown,
beardless youth, a bit shorter than his sister. She has mature breasts and incised
muscles on her white right forearm. Apollo strums the kithara with a plectrum in
his right hand and mutes the strings with his left. The instrument has a rectangular
base decorated with incised loops, like those on his hem, and circles with a line
of white dots, and long arms with white (ivory?) tips and snake volute supports
inside.
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Robert F. Sutton
Side B (color fig. 39) shows a pederastic courting scene of Beazley’s Type γ.5 In
the center a youthful eromenos and bearded erastes peform sexual intercourse in the
dia merion mode (fig. 2) framed by pairs of naked men dancing in from either side. The
adult erastes hunches over with bent knees and stares downward intently, holding the
youth tightly between his thighs and embracing him with hands clenched on the boy’s
hips. He is slightly wilder than his dancing companions, with a large eye, an odd,
almost satyric ear, and a slightly longer beard made a bit shaggy by short incisions,
like the hair above his neck. The eromenos stands upright, looking ahead over his
lover’s shoulder, and reaches back awkwardly across his lover’s upper right arm with
clenched fist, his other, bent arm only partly shown. Like Apollo, he sports the long
hair of youth and rises slightly above the older men. He wears a short cloak that must
be open in front but hangs behind him to cover his buttocks and pass between his
body and arms on either side, its ends hanging free on either side. It has red folds like
those on the other side, and is decorated with a few white dot clusters; an incised fold
shows that it covers his back and sides down to the knees.
The naked dancers appear in profile, with partly incised red beards, red circles
around their nipples, and a range of hairstyle. The two on left have short hair with red
crests in front, with traces of a red hairband on the leftmost figure, and small flaccid
genitals. The leftmost dancer stands or prances on one leg, raising the other behind, and
appears to slap his companion on the buttocks, although a slight bit of reserve may
indicate that his hand is closed and passes behind. His companion stands with slightly
flexed knees, raising his hands up and down, recalling Type β courting; he may be a bit
younger, less muscular than his companion, slightly paunchy, with sagging horizontal
abdominals, vague musculature on his left arm, but well defined leg muscles. On right,
the leading dancer moves in vigorously with flexed, widely spaced knees, his left hand
lowered in front, the other raised and bent oddly behind, its hand emerging behind his
shoulder, vaguely echoing the dancer on left; his long hair flows behind onto his
shoulders, his red beard is fringed, and an incised pompadour rises over his forehead.
The remaining dancer stands in place twisting his torso to a frontal view, raising his left
arm behind and over his head, the other arm lower, crossing his waist. He lacks a
defined mouth and also sports an elaborate pompadour with very short krobylos.
Attribution and Date
This amphora can be attributed to the Medea Group, a small group of standard neck
amphoras and a few Type B amphoras that have been dated around 530–520 BCE. In
1945 H. R. W. Smith attributed four small neck amphoras to the Medea Painter.6 Sir
5 Lear/Cantarella 2008, 206 no. 3.49.
6 Smith 1945, 473.
323
John D. Beazley retained the name but recognized instead a Group that others have
subsequently expanded.7 The Spitzer amphora has the small shape and proportions
of the Group’s standard neck amphoras with low spreading mouth, and shares details
of ornament with most, especially the slender rays above the base, disposition of
buds, and shape of the five-petaled handle palmettes.8 The form of Apollo’s lyre is
virtually identical to that on a neck amphora in London; they share the idiosyncratic
drawing of Apollo’s right forearm, hand, wrist, and intersecting incised muscle, and
must be by the same painter.9
Iconography
Side B belongs to a group of pederastic courting scenes that Beazley presented orally
in 1947 and published the following year.10 In Type α the male wooer (erastes) reaches
for the chin and genitals of a courted boy or youth (eromenos) in the “up and down”
position. In Type β one or both of them holds a cock or other love gift (see Neils in this
volume). In Type γ, as Beazley writes, “The moment depicted is later than in Types α
and β, and the two figures are interlocked.” He carefully details and analyzes the
visual and archaeological data with polite discretion, leaving much unspoken. Thirty
years later Sir Kenneth Dover said it all.11 Although literary texts regularly describe
pederastic anal intercourse, it was highly stigmatized (as in the common insult
katapugon).12 Dover recognized that the preference of vase painters to portray pederastic lovemaking in the Type γ dia merion mode (which he termed “intercrural”),
served to idealize pederasty. He argued that this mode of intercourse preserved the
manly reputation of the eromenos by avoiding penetration and assimilation into a
woman; one might also suggest that, since the anus is the organ of defecation, anal
intercourse may also have been regarded as inherently unclean and polluting. Yet,
pederasty was often idealized in antiquity (and later), invested with a pedagogical
role in contributing to male Bildung, reflected in vase paintings through reference to
hunting, cockfighting, and other character-building manly activities.13
7 ABV 321.1–4 and another near; Para 141; Add2 87; additions in CVA Getty 1, 28; BAPD 4, 7037, 7142,
10152, 28120, 43275, 301682–301686, 351042–351044, 9024502.
8 E.g., in Smith’s list BAPD 301362; Buitron-Oliver 1972, 50–51 no. 20, http://museums.fivecolleges.
edu/detail.php?museum=ac&t=objects&type=all&f=&s=1950.59&record=0 (accessed 6/15/13) and
BAPD 301683–301684; the Medea vase BAPD 301685 (A with wrong image) has fuller seven-petal
palmettes.
9 BAPD 301684 (on Smith’s list), with unusual neck pattern.
10 Beazley 1989b, 3–25, 40; n. 10 lists earlier work.
11 Dover 1978, on vases esp. 4–9, 91–100, 205–225.
12 Dover 1978, 142.
13 Koch-Harnack 1983; Schnapp 1997, esp. Chapter 4, 123–127; critically Lear/Cantarella, 2008, esp.
72–105; cf. Dover 1978, 185–203.
324
Robert F. Sutton
The flood following Dover has provided nuance and challenged various points,
even rejecting “homosexuality” as a valid concept in pre-modern settings.14 Alan
Shapiro’s work remains among the best, remarkable for its sensitive mastery of visual,
verbal, and historical evidence.15 Andrew Lear’s recent book with Eva Cantarella
represents the most nuanced treatment of the iconography including a corpus assembled by the late Keith DeVries that extends far beyond courting.16
To set the Spitzer amphora in context, I present a catalog below arranged by vase
shape of thirty-six black-figure Attic vases illustrating Type γ courting. This corpus
confirms that vase paintings showing the dia merion mode idealize pederasty and
invest the eromenos with dignity. Many include manly pedagogic and other elements
shared with Types α and β while confirming Lear’s observation that Type γ scenes are
somewhat removed from the courting Types α and β; yet, like heterosexual lovemaking scenes, they are more closely connected to the dance and komos,17 sometimes
linked specifically to Dionysos (11, 26, 29, 9?). I retain a vexing scene by the Gela
Painter requiring discussion elsewhere (32), in which the eromenos lacks genitals and
may be female, as Angelos Zarkadas believes.18
Discussion is synchronic by compositional type, not evolutionary. The group is
largely restricted to the second half of the sixth century, with few securely dated
before ca. 550 and perhaps some after ca. 500 BCE (29, 31, 32, 36). The couples show
little variation apart from placing the erastes on right or left, apparently without
significance. When it can be determined, the erastes is bearded, except on 36 and 29;
the eromenos is never bearded. The scenes cannot be regarded at face value as
objective depictions of social reality. Like heterosexual lovermaking,19 Type γ is set in
the company of others. Black-figure lovemaking is ritualized as a public display or
performance; in life, sexual intercourse was private.20
Beazley inserts a damaged Siana cup tondo, dated ca. 570–545 BCE, between
courting Types β and γ that he must have regarded as a proto-γ scene: an isolated
couple with fighting cock (as in Type β) embraces but probably did not achieve
consummation.21 Type γ appears around the middle of the sixth century. In tondos,
the couple is framed by single dancers, and the figures are often festooned with
14 Impossible to cover here; see Halperin 2002, with partial palinode.
15 Shapiro 1981b, 1992a, 2000, and 2012b.
16 Lear/Cantarella 2008, Appendix, poorly integrated with the text. DeVries 1997 is his only publication using the corpus.
17 See Smith 2010, Chapters 3 and 4, esp. 108–117.
18 The eromenoi look nothing like the courted woman on the painter’s lekythos Moore/Philippides
1986, no. 871 pl. 79. In several other scenes genitals of either eromenos or erastes were omitted or have
worn off. I am grateful to Dr. Angelos Zarkadas for permitting close examination pending his forthcoming publication in CVA.
19 Sutton 2009.
20 Sutton 2000, 182–184.
21 Copenhagen 5180; Beazley 1989b, 18; Lear/Cantarella 2008, 196 no 1.5; BAPD 300624.
325
wreaths or garlands, indicating festivity (1, 2, probably 3, and 4). In two other tondos,
the dancers are replaced by a pair of hunting dogs (5) and hare and dog (6) that run
up the frame emulating the bipedal dancers. Twice inscriptions name the lovers (4, 5).
In the tondo of a Dionysian eye cup (11), the dancers become a man pursuing a boy,
with vines of Dionysos and a hunting dog.
In non-circular formats nude male dancers and other figures frame the couple; a
preference for two dancers per side is not determined by available space, since they
may be spread out (14) or compacted (16, 17, 29). On the Hermogenean skyphos (14) one
dancing youth displays an erection, but this is exceptional, and these dancers are
restrained, especially in contrast to Tyrrhenian komasts or the masturbators who
sometimes frame heterosexual lovers.22 On a patch band cup from Chiusi (10) a bearded
man holding two wreaths dances away. Single dancing youths frame the couple on a
lekythos (30) and one side of a type A cup (12), and dancing men appear on an amphora
(19). The cup’s other side (12) is asymmetrical, with two wreathed youths to the right of
the lovers, and a single youth on left; the converse also appears, two dancing men to
left of the lovers, and a single man on right (22). Most often two dancers frame each
side: nude youths (14, 15, 27); nude youth and woman in dress (8); nude men (20, 25
[Spitzer amphora]). On an amphora (17) two nude dancing youths are framed by draped
figures, a man on left and youth on right, the latter initiating courting. Two lekythoi
have more dancers, including clothed, ivy-wreathed women draped in animal pelt
(nebris) of the Dionysian realm, with elements of the other courting types. The Taleides
Painter (26) shows three dancers on left, including a man, a woman in nebris, and a
youth holding out an aryballos to the eromenos, probably offering lubricant, and on
right, a youth with a lyre leads the way and another holds a game cock. The second (29)
is more unusual, crowded with nine framing figures, including at least three women in
nebris and a nude Type α erastes with an extremely pointed chin, surely indicating a
short beard, who initiates courting as if another Type γ erastes – beardless and longhaired – were not already in place, and caresses the face of the short haired eromenos,
reaching towards his hidden genitals. If he were initiating a threesome and hoping to
perform simultaneous anal intercourse with the erastes already in situ, one might
expect attention directed to the latter’s buttocks. So, unless the artist has simply made
a mistake (a desperate conclusion), he is either simply in line, eagerly anticipating his
turn with the eromenos, or actively seeks to displace the younger erastes. An unknown
number of dancers appears on the band cup 23.
We have already noted traditional courting gifts, particularly cocks (26), and
allusions to the hunt (5, 6, 11); these elements are prominent in the remaining scenes
that mostly lack dancers. Hunting dogs and javelins appear on the fragmentary tripod
pyxis by the Amasis Painter (35), where the erastes uniquely fondles or masturbates
his eromenos as an onlooker stands by with an aryballos for lubrication (cf. 26 above).
22 Sutton 2009, nos. 1–13, 30–33.
326
Robert F. Sutton
Fig. 3: Cat. No. 21, Side A. Youth probably holding hare, dog; courting Type γ; courting, Type β (?)
Athens, National Archaeological Museum, inv. 19297. Photo: author. © Hellenic Ministry of Education
and Religious Affairs, Culture and Sports/Archaeological Receipts Fund.
The Botkin Class neck amphora (24) sets the scene in a hunt with dogs and lively
hunters who beckon across the florals. The lovers appear on both sides of the wellknown amphora by the Painter of Berlin 1686 (16) amid a wealth of courting gifts and
game (live deer, dead hare, dead fox, and three game cocks), couples in various stages
of courting, and a lone bearded dancer. This artist presents the couple (17) framed by
varied three-figure groups in which two adult erastai pursue youths with wreaths, a
cock, and hunting dogs. A tripod pyxis (36) paratactically disposes two Type γ pairs
with young erastai beside a less advanced courting pair, framed between a dancing
man and a hopeful erastes with a cock. On the amphora from Pharsala (21, fig. 3) a
youth probably proffered a hare that at least attracts the attention of his hound. Most
unusual is the hydria (34), where a youth with a live hare moves between a Type γ
couple and pederastic anal lovers who are uniquely presented without denigration.
Hounds are also reported (30) and with a dancer (23, 33). The Gela Painter twice sets
the scene amid Doric columns, perhaps indicating a gymnasium or a public stoa. On
one (31) the couple is centered between pederastic courting pairs, one successful, the
other not. On the Canellopoulos lekythos (32) with an androgynous eromenos, a man
with dog regards the couple from left, with an earlier stage of courting of equally
dubious gender to right.
327
Fig. 4: Cat. No. 28 (fragment). Courting Type γ framed by male figures;
large chip on left drawn as female arm in Graef/Langlotz 1925, pl. 95.2242.
Photo: author. © Hellenic Ministry of Education and Religious Affairs,
Culture and Sports/Archaeological Receipts Fund.
Pederastic and heterosexual lovemaking appear together only twice. The witty
Hermogenes, on a fragmentary cup (7), places the vertical, monochromatic pederastic
group in the center, probably framed by crouching black and white heterosexual pairs,
of which only the couple on right survives.23 On a later band cup (9), a pederastic
couple stands off to the side of multiple crouching heterosexual couples making love
in a vineyard.24 The white arm in the published drawing of the Acropolis fragment (28;
fig. 4) is a chip that was misunderstood by the artist apparently working from a
photograph.
In all these scenes, the standing young eromenos possesses dignity that contrasts
with the few black-figure scenes of homosexual anal intercourse, usually ridiculed or
shown as degradation (except 34), and heterosexual lovemaking, where the women
are lascivious and often degraded.25 He displays little or no emotion, reflecting the
ideal of male self-control that Shapiro has discovered in funeral scenes, in striking
contrast to some enthusiastic female lovers, as on Hermogenes’ band cup (7).26
The variety of vase shapes that carry a theme indicate the social context for
which it was appropriate. Type γ appears on a wider range of black-figure shapes
than heterosexual lovemaking (see Catalog) and is distributed more evenly among
23
24
25
26
Cf. the ridiculous Hermogenean juxtaposition: Sutton 2000, 188–189 figs. 7.3–4 and 2009, no. 39.
Cf. Topper 2012, Chapter 2, 27–28, 47–52.
Shapiro 2000, 16–19; Sutton 2000, 185–191, 195–199 and 2009; Lear/Cantarella 2008, 115–129.
Shapiro 1991.
328
Robert F. Sutton
them.27 Significantly, both subjects appear predominately on symposion ware and
often include Dionysian elements. Drinking vessels (cups and skyphoi) account for
42% of the vessels that portray Type γ, and almost 75% of heterosexual lovemaking.
Amphoras, mostly Type B, carry over a quarter of γ scenes but a smaller proportion
of the heterosexual lovemaking. Of shapes not connected exclusively to the symposion, most common is the lekythos (22%), the common jar for oil, a sexual lubricant, as noted.28 Lekythoi carry Dionysian subjects, and such elements occur here
(26, 29). The rare tripod pyxis represents 6% of the total and possibly had a related
use.
Exactly half the catalogued vases have recorded provenience, indicating the
theme’s wide appeal in Greek and barbarian lands (Table 1).
Table 1: Catalog Items With Known Provenience N = 18
Greece N = 6 (33%)
Athens, Acropolis and N. Slope: cups 3, 4; lekythos 28
Eleusis, Demeter Sanctuary: lekythos 33
Aegina, Sanctuary of Aphaia: tripod pyxis 35
Pharsala (grave): amphora 21
Etruria and Central Italy N = 8 (44%)
Chiusi: cup 10
Falerii Veteres (tomb): lekythos 30
Saturnia: cup 15
Vulci: cup 9; amphora 16
Etruria: cups 2, 6
Villa Giulia Museum: lekythos 26
Sicily N = 1 (6%)
Megara Hyblaia: amphora 20
Black Sea N=2 (11%)
Olbia: cup 8; lekythos 29 (grave)
Egypt N= 1 (6%)
Naukratis: cup 13
A plurality (44%) comes from Etruria and Central Italy (most or all surely from tombs),
with a third from Greece, mostly from Athens and Attica (slightly higher than the
heterosexual scenes). Two of the latter were found in religious sanctuaries, but the
fragments from the Athenian Acropolis probably originated in fill brought from the
27 Sutton 2009, 89, Table 1.
28 Kilmer 1993, 81–82, 88–89.
329
lower city;29 only the Pharsala amphora originated in a burial (21). The remainder
come from Greek colonies on the Black Sea, Sicily, and Egypt; no. 29 from Olbia was
found in a woman’s grave with a bronze mirror and gold jewelry. Scenes of heterosexual lovemaking are more widely distributed, although their number is greater and
a higher proportion is of known provenience (67%).30
Other subjects pictured on the same vessel establish a wider iconographic context
for viewing the theme. Reflecting the prominence of symposion ware, a slight plurality
of vessels carries related sexual and/or festive themes. Courting is most common,
generally Type α (21 [fig. 5], 24, 26, 31, the ambiguous 32); on at least three Type γ
lovers are repeated (12, 14, 16). On Hermogenes’ band cup (7), the heterosexual lovers
reported on Side B may indicate repetition of the presumed ABA scheme of side A. The
dancers on the reverse of the amphora from Pharsala (21; fig. 5) accord with those on
side A. Lovemaking is a subject of symposion ware31 and Dionysos is the favored
divinity, present in every field of the Copenhagen eye cup (11), if we include the vines
behind the lovers (as also 32); his vineyard is the setting for lovemaking and symposion on the Moscow (?)/Berlin band cup (9), and we have noted his entourage on two
lekythoi (26, 29).
Pederastic lovemaking is ennobled by appearing with images of other gods and
heroes: Athena is shown battling the Giant Enkelados (1), mounting a chariot, with
Apollo and probably Artemis or Leto, and Hermes to lead the way (20), and possibly
at her birth, as Shapiro suggests (17). The gods of the Spitzer amphora (25) are treated
below. Nike appears on both exterior sides of a cup (2). The Dioskouroi (35) straddle
the boundary between man and god, while two other heroes appear twice: Herakles,
shown battling the lion (24) and Kyknos (35), a version in which Zeus intervenes;32
and Achilles, dueling Memnon (18) and gaming with Ajax (19). Scenes of noble mortal
manly pursuits are rare: battles (1) and athletes (23) each appear once; only a pair of
deer framing a siren on a shoulder refers to hunting (27); the siren lacks obvious
relevance, although sirens also appear with heterosexual lovers.33 The subject of a
lekythos shoulder involving a horse is uncertain (29). Larger programs can be discerned on vessels illustrating multiple themes: divine and mortal battles (1) and
deified heroes, Dioskouroi, and Herakles (35) seem to ennoble the pederastic theme,
while the tripod pyxis evidently celebrates erotic diversity (36).
The Type γ courting on the Spitzer amphora is thus unexceptional, yet the particular choice of deities on side A is remarkable for imparting new artistic pedagogic
associations. I hinted that the dancers on side B respond to the music of Apollo on the
29
30
31
32
33
Stewart 2008a.
Sutton 2009, 89, Table 2.
Sutton 2009, 82–84.
Cf. Shapiro 1984.
Sutton 2009, 79, 81 fig. 5, 86 nos. 22, 23.
330
Robert F. Sutton
Fig. 5: No. 21, Side B. Courting Type α framed by
dancing youths. As fig. 3.
obverse. Yet the kithara did not normally accompany the dance but served as the
instrument for formal concert performance and poetic recitation.34 Here it introduces
an artistic aspect of gentlemanly Bildung to the previously recognized pederastic
themes of hunt (an apt metaphor of courting), cockfighting, and athletics. It is difficult
to imagine a more explicit and elevated allusion to the pedagogic aspect of pederasty
than this pairing with Apollo the ephebe, “the most Greek of the gods,” “the epitome
of that turning point in the flower of youth,” who, together with his sister Artemis,
presided over the transition of youths and maidens to adulthood.35 If the other gods
require explanation, Hermes presides over transitions and often leads the way, while
Poseidon seems generally appropriate as an adult male with local Athenian prominence, and perhaps he had seasonal relevance or personal connection to painter or
client.
34 Smith 2010, 99; Bundrick 2005, 14–29.
35 Burkert 1985, 143–152, quoting 143, 145.
331
Catalog: Attic Black-figure Pederastic Courting Type γ
See full references in DeVries’ catalog (D numbers; Lear/Cantarella 2008, 194–233),
BAPD (in parentheses), and Beazley 1989b (γ numbers).
P = Painter; I = interior; A, B = exterior sides; frag = fragment; N = total number.
Total Cups (kylikes): N = 15 (42%)
Lip cup, N = 6
1. D 2.3 (3503693). Copenhagen 13966. Epitimos P. I; A, B (lip) Gigantomachy,
Athena vs. Enkelados; (heads); by handles: duels (Greek vs. barbarian): A: on
horse, B on foot. Heesen 2011, 156, 287–288 no. 236 pls. 67, 68; dated ca. 550 BCE.
2. D 2.21 (302570; γ 3). Moscow (?) (Berlin F 1773),36 from Etruria. Near P of Boston
C. A. A; I, nonsense inscriptions; B: Nike.
3. D 2.92 (γ 10). Athens, National Archaeological Museum, Agora A-P 733, frag., from
Athens, Acropolis N. Slope. I. Pease 1935, 262, 267–268 no. 103 fig. 25.
4. D 2.93 (γ 11). Athens, Acr. 1761, from Athens, Acropolis, frag. I, inscription Θ.Μ.
(sic).
5. D 2.112 (3878). Bochum S1024. Epitimos P. I, 2 names, including ϘΟΝΟΝ; A, B:
nonsense inscriptions. Heesen 2011, 156, 288 no. 230 pl. 20; dated ca. 545–
540 BCE.
6. D 2.91 (7479; γ 9). Paris CP55, from Etruria. I.
Band cup, N= 4
7. D 2.13 (6408, 44981). Helgoland, Kropatschek, frag. Hermogenes P, signed by
potter Hermogenes. A: γ, heterosexual lovers on right, probably also originally on
left; B: heterosexual couple making love (not seen; possibly duplicate of A).
Heesen 2011, 102–111, 277 no. 149 pl. 46b; dated ca. 545–540 BCE.
8. Olbia, frag. from Olbia. A, framed by dancing nude males, dancing women in
skirts. Kryžickij 1989, 62 fig. 22.9.
9. D 2.95 (11037; γ 13). Moscow (?) (Berlin F 1798),37 from Vulci. B, in vineyard; A,
symposion under vines.
10. D 2.87 (γ 2). Florence, ex Vagnoville, patch band cup frag., from Chiusi. Ιοzzo
2006, pl. X.6.
Type A, N=3
11. D 3.24 (302651). Kurashiki, Ninagawa 27. Krokotos Group; cf. Group of 48.42 I;
zone: Dionysos & thiasos; A, B with eyes, Dionysos & Ariadne, Dionysoi; dolphins
under handle.
36 Zhuravlev/Lomtadze 2007.
37 See n. 36.
332
Robert F. Sutton
12. BAPD 350784. Toulouse, 26.088. Group of the Courting Cups, FP Class. A, B.
13. D 3.43 (γ 14). Oxford G 1112, frag. from Naukratis. A, upper part of couple (not
seen).
Other or uncertain, N = 2
14. D 2.109. Skyphos of Hermogenean Type. Basel Market. Strobos P. A, B. Heesen
2011, nn. 638, 657, 723.
15. D 2.94 (γ 12). Band cup or band skyphos. Once Rome, Hartwig, from Saturnia. A,
between eyes, palmettes.
Total Amphoras: N = 10 (28%)
Type B: N= 8
16. D 2.59 (320395). London 1865.11–18–39, from Vulci. P of Berlin 1686. A, B.
17. BAPD 7277. San Antonio 86.134.44. P of Berlin 1686. B; A, gods (birth of Athena?).
Shapiro 2000, fig. 2.
18. D 2.89 (2889; γ 7) Cambridge, loan from Trinity College T2. B; A: Achilles vs.
Memnon.
19. D 2.90 (10478; γ8). Sèvres 6405. B; A, Ajax and Achilles playing.
20. D 3.47 (14208). Syracuse 9762, from Megara Hyblaia. B; A, Athena mounts chariot,
with gods.
21. D 3.45. Athens 19297, from Pharsala (grave). A; B dancers frame Type α courting.
(Here figs. 3, 5).
22. BAPD 9040. London Market. Euphiletos P. A; B, dancers.
23. D 3.32 (360885) Ex Milan, Vanzetti. Very close to Edinburgh P. A; athletes. Para
219 (not seen).
Neck Amphora: N= 2
24. D 2.16 (14). Market. Botkin Class. B; A: courting, Type α; shoulder A, B: Herakles
vs. lion.
25. D 3.49. Bryn Mawr 2011.17.2. B; A: gods in musical procession. (Here color
figs. 38–39; figs. 1, 2).
Lekythos: N= 8 (22%). Scene on body.
26. D 2.19 (301130; γ 4). Rome, Villa Giulia 50653. Taleides P. Shoulder: Type α.
27. D 2.20 (350510). Princeton 86.53. Taleides P. Shoulder: siren between deer.
28. 2.88 (γ 6). Athens, Acr. 2242, from Athens, Acropolis. Taleides Painter or close.
(Here fig. 4).
29. D 2.73 (γ 5). St. Petersburg O.1912.272, from Olbia (grave). Cf. P of the Carlsruhe
Skyphos. Shoulder: youths, figure in chiton, horse, all running. Trofimova 2007,
100–102 (color).
30. D 3.42 (14208; γ 5bis). Rome, Villa Giulia 1392, from Falerii Veteres (Civita
Castellana; tomb). Near Cock Class, Haspels 1936, 67.
333
31. D 4.45 (41361) New York Market. Gela P. With other courting. Royal Athena
Galleries 2001, 70 no. 198.
32. D 4.2. Athens, Canellopoulos Museum Δ 40. Gela P. Between columns, γ group
(heterosexual?, as Zarkadas believes) between man with hound, heterosexual (?)
courting.
33. D 2.103. Eleusis, from sanctuary of Demeter & Kore. Man/boy, hound, dancer (not
seen).
Hydria (kalpis): N = 1 (3%)
34. 2.100 (5890) New York, Private. γ group, youth with hare, pederastic anal intercourse. Shapiro 2000, fig. 7; Sutton 2000, fig. 7.2; Lear/Cantarella 2008, fig. 3.8.
Tripod pyxis: N = 2 (6%).
35. 2.12 (14701). Aegina, from Aegina, Aphaia sanctuary, frag. Amasis P. C; A: Dioskouroi; B: Herakles vs. Kyknos.
36. 2.106. Oxford, Miss. A; B: heterosexual courting (?); C: 2 women share mantle.
Addenda
Courtesy Michael Padgett
11bis. Tampa, Zewadski, Cup, Type A frag. Group of the Courting Cups (Padgett?). A:
upper half of γ pair between male dancers.
25bis. Neck amphora, Lausanne, Musée Olympique BA no. 9024527. A: Central γ pair
between α pairs.
27bis. Lekythos, London Market. Central γ pair between nude dancing men between
dancing women in nebris. Shoulder: equestrian youth between standing males.
Christie’s, London, September 23, 1998 no. 177.
Color Plates
Fig. 38: Cat. No. 25, Side A, Apollo and Artemis
with Poseidon and Hermes. Bryn Mawr College
Art and Artifact Collections, 2011.17.2. Gift of
Doreen Canaday Spitzer, Class of 1936. Photo
Bryn Mawr College Art & Artifact Collections.
583
Fig. 39: Cat. No. 25. Side B. Pederastic courting
Type γ. As color fig. 38.
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